Bajo el signo de la esvástica. La Exposición de Arquitectura Moderna alemana en España (1942)

• Main Author: Francesc Vilanova i Vila-Abadal es Profesor Titular de Historia Contemporánea en la Universidad Autónoma de Barcelona y Director del Archivo Carles Pi i Sunyer (Fundació Carles Pi i Sunyer d’Estudis Autonòmics i Locals, Barcelon). Miembro del Grup de Recerca en l’Època Franquista (GREF) y del Centre d’Estudis sobre les Èpoques Franquista i Democràtica (UAB-CEFID).
• Format: Article
• Language: English
• Published: Diacronie 2014-06-01
• Series: Diacronie. Studi di Storia Contemporanea
• Subjects: Albert Speer; architecture; Barcelona; Franco’s regime; nazism; arquitectura; Europa nazi; franquismo; architettura; Barcellona; nazismo; regime franchista
• Online Access: http://www.studistorici.com/2014/06/29/vilanova_vila-abadal_numero_18/
• ISSN: 2038-0925; 2038-0925

In autumn of 1942, Barcelona received the Exhibition of Modern German Architecture, directed by Albert Speer. The objective of this exhibition was to show to European allies the pharaonic projects of Germany, the Europa’s future new capital, the new constructions and the new urbanism of the Third Reich. The pro-Franco leaders of Barcelona and the “new” intellectual ones (architects of reference) admired the promises and the challenges that the Nazi power was projecting in a promise of an enormous remodeling of the continent. These leaders were completely fascinated by the German power, they admired their military deployment in the continent and they identified their ideas with the main part of the Nazy ideological program.